INSTITUTIONS AND AUDIENCES FILM INDUSTRY. TODAY. Understand the role of cross media convergence in contemporary film marketing. Understand the role new media technology plays in film marketing. Understand the different ways in which Film 4 and Hollywood use NMT in film marketing.

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The most advanced type of viral marketing is the Alternative Reality Game. An ARG is an interactive narrative that uses the real world as a platform, often involving multiple media and game elements, to tell a story that may be affected by participants\' ideas or actions.

In Spring 2007 Warner Bros launched an ARG Why So Serious to help promote the release of The Dark Knight the following summer.

Players had to follow a scavenger hunt, interacting with a variety of purpose built websites and finding clues to gain more information about the film. Those that succesfully completed the scavenger hunt won free tickets to a preview screening of The Dark Knight.

Storytelling as archaeology. Instead of presenting a chronologically unified, coherent narrative, the designers scatter pieces of the story across the Internet and other media, allowing players to reassemble it, supply connective tissue and determine what it meant.

Platformless narrative. The story was not bound to a single medium, but existed independently and used whatever media were available to make itself heard.

Designing for a hive mind. While it might be possible to follow the game individually, the design was directed at a collective of players that shared information and solutions almost instantly, and incorporated individuals possessing almost every conceivable area of expertise. While the game might initially attract a small group of participants, as they came across new challenges, they would reach out and draw in others with the knowledge they needed to overcome the obstacles.

A whisper is sometimes louder than a shout. Rather than openly promoting the game and trying to attract participation by "pushing" it toward potential players, the designers attempted to "pull" players to the story by engaging in over-the-top secrecy (e.g. Microsoft did not acknowledge any connection between the company or the movie and the game, the game did not acknowledge any connection to Microsoft or A.I., the identities of the designers were a closely-guarded secret even from other Microsoft employees, etc.), having elements of the game "warn" players away from them, and eschewing traditional marketing channels. Designers did not communicate about the game with players or press while it was in play.

The "this is not a game" (TINAG) aesthetic. The game itself did not acknowledge that it was a game. It did not have an acknowledged ruleset for players; as in real-life, they determined the "rules" either through trial and error or by setting their own boundaries. The narrative presented a fully-realized world: any phone number or email address that was mentioned actually worked, and any website acknowledged actually existed. The game took place in real-time and was not replayable. Characters functioned like real people, not game pieces, responded authentically, and were controlled by real people, not by computer AI. Some events involved meetings or live phone calls between players and actors.

Real life as a medium. The game used players\' lives as a platform. Players were not required to build a character or role-play being someone other than themselves. They might unexpectedly overcome a challenge for the community simply because of the real-life knowledge and background they possessed. Participants were constantly on the lookout for clues embedded in everyday life.